Digital Architectural design

Inserted on the questioning of visual sintax, studying architectural graphic
representation through its means of production is an attempt to restrict the limits an
abstraction imposes. The citation: “ the new possibilities offered with the use of
digital technologies”, constitutes the basis of this paper, in which the designing
method applied by different architects both on conception as well as on
presentation of Architectural Design, is analised.

Much has been written on the impact of digital technology and its translation into architectural practice and education. This paper reconsiders this process of integration to question current trends in research and pedagogy. Recent efforts to expand architectural research in schools tend to focus on broadening its spectrum while reinforcing design as research. We argue that the relevance of digital technology to these discussions, and its role in expanding fields of research, depends on different 'research cultures' and their differing institutional contexts. Our interest is in 'cultures' that, as 'lines of thought', broaden the field of architectural research and make it heterodox, thickening a line of research with multiple interpretations. Tracing early experiences in the ‘paperless’ studios of Columbia's Graduate School of Architecture Planning and Preservation, this paper questions how architectural pedagogies are developing in response to the current normalisation of digital design, with a focus on the Architecture Association's Design Research Lab (DRL) and the Strelka Institute in Moscow. Ultimately, the main question is addressed: in what ways can the digital be political? By referring to the DRL and Strelka research programmes, two distinct approaches have been critically explored. On the one hand, DRL has been pushing to the limit the idea of research by design, considering autonomous form as the materialisation of change in the design process, while Strelka has been practicing research as the information for design. If digital technology contributes to form generation at DRL, at Strelka it potentiates opinion generation, and the research product is information, rather than form itself. The triangulation of both approaches could eventually suggest a more thorough political expression by means of a 'digital redux'.

La rápida e intensiva evolución que han experimentado las tecnologías biológicas y digitales a finales del siglo XX, han producido importantes transformaciones en nuestros hábitos cotidianos y laborales.
En el campo específico de la arquitectura, se iniciaba con esto, un universo de nuevos planteos que desafían las concepciones tradicionales del diseño, dando lugar a una arquitectura con una expresión espacial germinal, fluida, en continuo proceso de cambio y de transformación hasta su concreción física final. Una arquitectura de modelos digitales producidas a través de una amplia gama de herramientas tecnológicas: modelos paramétricos, algoritmos genéticos, tecnologías CAD/CAM, que permiten optimizar los recursos de un modo lógico, más allá de la construcción gráfica o del discurso exclusivamente conceptual. Revelando el peso de lo biológico y de lo digital en la práctica del arquitecto contemporáneo.

En este ámbito, la presente investigación parte de la hipótesis de que un nuevo paradigma está surgiendo en el modo de concebir la arquitectura.

Dentro de la situación contemporánea donde los límites disciplinares parecieran ser difusos, algunos afirman que la arquitectura biodigital es la nueva vanguardia, otros que es una moda formalista pasajera que en muy poco tiempo será olvidada. Hasta qué punto constituye dicho marco un nuevo paradigma es aún un tema sometido a debate. ¿“Revolución científica” o “anomalía”? Esta dicotomía presenta un campo abierto que será objeto de esta investigación cuyos límites y consecuencias son impredecibles.

This research aims to analyse Topology’s state of the art. Nowadays Topology is a key player in the dialogues that Architecture has historically stablished with other areas of knowledge. This work points out and systematizes contemporary approximations with Topology made by architects and developes their ideas by means of the concept of topologic processual diagram. This threefold concept (topology, process, diagram) is investigated in different areas such Cognitive Science, Logic (Mathematics and Semiotics) and Philosophy, in order to enrich the analyse of its actuation in the field of Topology. In this analysis, the topologic processual diagram is described as an operative- representational medium of spatial structural relations (the object’s topology), with three variables: thought, space and time. Finally, this concept is investigated within the realm of the project and representation in Architecture, building up a critical dialogue with diagrams, its use and reference, as performed by paradigmatic contemporary architects - Bernard Tschumi, Peter Eisenman, Greg Lynn, Rem Koolhaas, MVRDV, Ben van Berkel, Lars Spuybroek and others.

The chapter develops the notion of a “gothic ontology,” which inverts Deleuze’s baroque ontology of the fold that played such a seminal role in the advent of "digital architecture". Whereas in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the notion of the rib, which is the source of Ruskin's “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or connect to other figures, i.e. to build configurations. Ruskin’s complementary notion of "savageness", usually categorized as an ethics-over-aesthetics, becomes here a notion of craft inherent to matter, not to humans.

Özet: Dijital Teknolojiler, Üç boyutlu görselleştirme Programları, farklı modelleme yöntemleri diğer mühendislik alanlarında olduğu gibi mimarlık alanında da yoğun bir şekilde kullanılmaktadır. Bu çalışmada Maltepe Üniversitesi Mimarlık ve Tasarım Fakültesinde İç Mimarlık Bölümü Yüksek lisans programında yürütülen bir projenin modeli ve modele geçiş süreci ele alınacaktır. Proje konusu Kadıköy'de bir "Seramik Kafe" tasarımıdır. Kafe projesi aynı zamanda bir atöyle-toplanma yeri, seminer ve workshopların yapıldığı bar ve satış birimini de içeren çok amaçlı bir mekan projesi tasarımıdır. Bu çalışma seramik bölümü mezunu ödüllü bir tasarımcı olan Berk Arıl ile yürütücüsü mimar Türkan İrgin Uzun'un ürünüdür. Projede kullanılan 3d Max programının kısa tarihçesine de değinilerek, proje ile paralel sürdürülen modelleme teknikleri, öğrenme sürecinin tasarımcının görselleştirme becerisine katkıları, sahneye nasıl yansıttığı, tasarımlarında nasıl kullanabildiği gibi konularda elde edilen sonuçların sunulacağı ve değerlendirileceği örnek bir çalışma modelidir. Çalışmada Seramik kafenin tasarım kararları, 3d modele aktarımı, malzeme seçimi, ışık ayarlarıyla birlikte bitmiş bir tasarımın, sahne donatılarının kararları ve sonuçları modellemenin görsel sonuçlarıyla birlikte sunulacaktır. Anahtar Sözcükler: Dijital tasarım, dijital modelleme, dijital görselleştirme, 3d Max, iç mekan, mimari modelleme, mimari görselleştirme, mimarlık , iç mimarlık, iç mekan, seramik atölyesi, yüksek lisans projesi

Abstract: Digital Technology, Three-dimensional visualization program, different modeling methods are used extensively in architecture, as in other engineering fields. In this study, Maltepe University Faculty of Architecture and Design, Department of Interior Architecture model and model transition to a project carried out in the master program will be discussed. A project topic in Kadikoy "Ceramic Café" design. Café project also workshop to-one meeting place, including seminars and workshops, bars and sales units in which the project is a multipurpose interior design. In the short history of 3d Max software used in the project reference, the project in parallel with the ongoing modeling techniques, the learning process of visualization skills to contribute to the designer, how it reflects on the scene, how they can use in the design, it will be presented the results obtained in the subject and sample to be evaluated is a working model. Work on ceramics cafe design decisions, 3d model transfer, material selection, with light setting a finished design, decisions and results of the modeling stage equipment will be presented with the visual results.

Architectural design can no longer be only concerned with developing artefacts that produce reduced environmental impacts within a certain threshold of emissions. Conversely, buildings today must be developed to reverse the effects of climate change, increase the strength of natural systems and create a circular - carbon positive built environment that supports inhabitants wellbeing. “Regenerative Design in the Digital Practice” explores how the regenerative concept is now being applied to the design of cities and buildings. A series of digital design approaches are exemplified via a series of examples drawn from leading international practitioners and researchers from KADK, ETH Future Cities Laboratory, AIT Austrian Institute of Technology, TU München, Henning Larsen, BIG - Bjarke Ingels Group, Ladybug Tools, Living Future Institute, International WELL Building Institute - IWBI, EPFL, and many others. This book fills a gap in the existing literature by introducing fundamental design principles of regenerative design practice whilst outlining the potential and imperative of integrating science, big data and multi-discipline digital tools in the design process. The main editors and writers are Emanuele Naboni and Lisanne Havinga. The co-editors are Martin Brown, Angela Loder, Sergio Altomonte, Terri Peters, Luca Finocchiaro, Ata Chokhachian, Clarice Bleil De Souza, Catherine De Wolf, and Antonino Marvuglia. The preface is written by Maibritt Pedersen Zari. The book, published by Eurac Research, is open access thanks to the generous support of COST - European Cooperation in Science and Technology, the H2020 program and Cost Restore.

Thirty years after the advent of digital, it is mandatory a reflection that looks at the mutations produced by digital technology in society and therefore within the architectural design process. To face the complexity, I chose a holistic approach, capable of acquiring a philosophical perspective, and descending towards the technical, operational, methodological, instrumental and relational detail.

This special issue of Antagonisms explores and seeks to highlight the value of Peter Eisenman’s work. Beyond the vastness of Eisenman’s ouvre, his multifaceted, heterogeneous, ever-changing production on the edge of paradigmatic shifts in Architecture, is constantly relevant for its historical and contemporary interest. Somehow, Eisenman has managed to integrate historical relevance with contemporary value.

Leading architectural firms in professional practice are expanding their range of design possibilities using digital design strategies. A digital design strategy enables architects to make informed decisions and better handle the interdisciplinary nature of the discipline, while dealing with various complexities, uncertainties and an infinite number of the potential solutions. One of the main responsibilities of architectural education is to educate students on the breadth of professional opportunities and career paths. Therefore, it is highly important to examine the sufficiency of available digital design courses in the architectural education curriculum. To achieve this, the study examines the curriculum of two architectural programs in the Middle East and compares the findings with award-winning architectural firms in international professional practice from a digital design perspective. In the first step, various cutting-edge technology-driven firms were investigated, then three award-winning firms were subsequently selected and studied using a deliberate review. Secondly, the curriculum of each architecture school was reviewed and the responsible instructors were interviewed through a qualitative method of in-depth interviews; the perceptions and suggestions of eight academic staff members from both schools (four each) were recorded to facilitate an assessment of the status of the integrated digital design meth-odologies in the architecture education of the intended schools. The findings indicate that the current structures of architecture education curricula cannot match the innovative challenges and social demands of architecture in the digital age. The importance of curriculum review, as well as different incorporation alternatives of the digital design applications, are also suggested.

Behind the title "Non Standard Architecture", the exhibition in 2003 recovered different goals, trying to change the critical dialogue with a traditional understanding of rationalism, ration-alisation, technicism, engeneering and to fi nd a most accurate apprehension of the mutation of the processus of conception and production of architecture imposed by the new homogeneity of the computation tools from "fi le to factory" on the other side. The generalisation of new softwares opened a generative domain, an algorithmic culture opened to the potentialities of complex morphogenesis and complex geometries. The fi rst level of interpretation came from the fi eld of the American neo-structuralism still infl uenced by the Italian scene of the seventies turned to a unilateral linguistic transcription of architecture in terms of typol-ogies and morphologies. The logicisation of the space defi ned by this neo-rationalism confronted a spatial hermeneutic where the algorithmic and the variation were assimilated as an ultimate state of the ontological difference. The dynamic fi eld of morpho-genesis was formalised through computation as an homogeneous geometric domain mathematically encoded. The quest of an ontological anchorage defi ned by ultimate spatial metaphors (space-ment, differance, chora, deterritorialisation, folds, diagrams. . .) preserved the idealistic notion of a genetic of forms. The Husserlian reduction was reifi ed in a translation of the variations in a suspended system of notations. N.S.A. tried to redefi ne the source of the morphogenesis and to refuse the logic of deconstruction muted in a generical economy of sequenciation. Through an approach of the emergence, the singularities were defi ned by their pure capacity of integration under a continuum (topologic) which opened a new economy of the manifold. In this way the multiplicities have a capacity of mutation where a contraction, a part, an element, supposed a complete mutation of the entire structure, including the geometry. Edmund Husserl tried to defi ne those "vague morphological entities" and the conditions of a singularisation (a thing, a form, an object. . .) apart from all the onto-theological interpretations as a dynamic of relations where the structure was not reduced to the system. This dynamic understanding of the morphogenesis imposed a naturalist genealogy of structuralism where a radical materialism is related to an absolute discretisation. The Husserlian distinction between formal and material, between a formal ontology working on the ultimate structures organising the reality and the division in sectors of different material ontologies (physics, biology. . .) opened the way to a radical logicisation of ontology. This transfi guration of the formal ontology as an algebra, this radical shift between physicalism and phenomenology, between the emergence of singularities and their mathematisation

This article reports on the initial analyses and findings of on-going research project which investigates the socio-technical transformation of Architectural practice due to technology adoption. A conceptual framework is developed as a tool to identify, analyse, and characterize the different socio-technical networks in current practice, and the ways in which these networks are being developed and coordinated. Highly technologymediated and interdisciplinary architectural/engineering practices have been monitored and studied in their real-life project contexts.Through comparative case analyses, a conceptual framework has been developed and used to represent and analyse emerging sociotechnical networks and the ways in which these networks facilitate innovation. In this context, new modes/practices of innovations are identified through the diverse and dynamic relationships emerging between architects, digital tools/systems, the design artefact, and the various multi-disciplinary knowledge/actors in a socio-technical setting.

This paper investigates the introduction of the cybernetic approach in architecture, through the key-role of N.
Wiener, G. Pask and their influence on the projects of Cedric Price in the Sixties. The analysis of two of his most
representative projects, such as the Fun Palace and the Generator, aims to individuate the informatics influence
brought to the spatial composition. Furthermore, the article will clarify the visionary though of the British architect
concerning the impact of digital infrastructures on the prefiguration of the most recent responsive and interactive
approaches in architecture.

The contemporary model of the Design Studio is constantly being tested and revised, before a rising heterodoxy of programs and methods. As a key, it is proposed the retrieval of John Ruskin’s essay 'The Seven Lamps of Architecture'. Written in 1849, the seven principles aimed at rescuing, in an almost primitive way, Architecture as an Art that enlightens the remaining ones. It returns to the example of Venice’s medieval stones to go forward on the symbolic indefiniteness of the industrial age, alerted by Pugin when in 'Contrasts' (1836) the verticality of industrial chimneys competed with the towers of the cathedrals. Ruskin’s lamps would indicate the modern way for the total artwork by William Morris. With Morris, design would be a part of a single process from concept to work, anticipating Bauhaus’s Modern Design. To Ruskin, the light for architecture came from Sacrifice, Truth, Power, Beauty, Life, Memory and finally Obedience. Morality was the colour of Ruskin’s light. Sixteen years ago, the magazine 'Assemblage' dedicated an issue to Ruskin. As guest editor, Jennifer Bloomer started saying 'Ruskin is out of fashion' (1997, p.8). Accused of being anti-modern, ignoring spatial organization in favour of delirious ornaments, Ruskin is possibly still out of fashion. His distrust on progress, as a salvific end to happiness, positions him very close to the times we are living and perhaps that is why it is so compelling to revisit him. Following, we will risk 'Seven Lamps of Architectural Design'. Differently from Ruskin’s light, the light we propose is not meant to be absolute, or strictly ideological. Ultimately it justifies itself when the path of research into design is yet submerged in obscurity. The light of research by design is multi-coloured: is it individual, subjective, phenomenological, collective, analytical or even scientific? Hence, what research does the Architectural Design want?

Architect professional figure and skills have undergone innumerable evolutions throughout human history, and although the architect's task is always substantially to design buildings and spaces, the use of digital tools has undoubtedly marked the greatest change in architectural design since the Renaissance, if not since the time of Vitruvius. However, when we talk about the relationship between architecture and digital tools, we immediately think about projects of some contemporary architects and researches of some important academics come to mind. Digital tools are now everywhere within the fragmented world of architecture: from multinationals firm with offices in the major cities of the world to small provincial studios, it is difficult if not impossible to find a “non-digital” designer. The massive diffusion of digital technology has radically changed the architectural process in the last 30 years: from concept to representation, 3D modeling through CAD software up to the production of BIM models. For each of these purposes, there are now tools, made by international software houses, or by architects through programming languages, with the aim of facilitating and speeding up their work. The knowledge of certain software has become a fundamental requirement for professional practice so that it seems in place a further differentiation of roles within architectural firms. With this article we aim to understand trends in the dissemination of software among architects, not only inside the major Architectural firms but from the whole fragmented world of architecture, exploiting the records of Google searches, analyzed through the Google Trends platform.

Typical architectural design is reliant on prescriptive top-down decisions that seek efficiency through simplification. Erection of designs produced in this way depends on specially prepared construction sites and access routes. Such building procedures are destructive and cannot gracefully integrate with existing ecosystems. By contrast, this paper is motivated by the desire to assimilate newly built artificial structures with pre-existing dynamic, amorphous, highly variable and fragile sites. As one of the possible approaches to this challenge, this paper discusses the prospects offered by the utilization of intelligent robots. This discussion relies on an empirical study of autonomous robots that outlines the capabilities necessary for such construction.

The Information Visualization Design project is an eight year long, interdisciplinary research effort in expanding the creative boundaries of Architectural Practice. 

As our civilization continues to dive deeper into the information age, making sense of complex data becomes critical.  Information visualization responds to this challenge by using architectural expertise to solve information interpretation problems facing many fields. The result is the design, construction, testing, and deployment of data environments supporting real time decision making in Medical, Finance, Process Control, Live Performance, and Network Monitoring.  These information spaces take advantage of the vast and innate human perceptual abilities in pattern finding. Rigorous scientific testing has demonstrated that ‘dwelling’ in such data architectures allows people to make more accurate, faster, and better decisions while reducing cognitive load and stress.

This work also demonstrates the natural leadership role that architecture may play in interdisciplinary endeavors.  Using core architectural competencies, two architecture faculty became the leaders of a collaborative assembly of five inter-disciplinary teams with over 25 individuals.

The success of this research has been proven by its longevity, over $4.7M in grants, over 50 articles published across four fields, several pending patents, a spin-off company, three commercial licenses, and over 20 live public performances. In recognition of their cutting edge work Julio Bermudez and Jim Agutter have been awarded the Association of Collegiate Schools of Architecture (ACSA) 2004-2005 Creative Achievement Award.  Such accomplishments challenge conventional views of architectural practice and provide students, faculty and practitioners exciting opportunities to create digital information spaces

PurposeThe paper aims to examine the concept of architectural design communication (ADC) for updating design studio dynamics in architectural education during the Covid-19 pandemic. Within this perspective, the changing and transforming contents of architectural education, the thinking, representation and production mediums are examined through the determined components of ADC. There are five components in the study, which are (1) Effective Language Use, (2) Effective use of Handcrafts, (3) Effective Technical Drawing Knowledge, (4) Effective Architectural Software Knowledge and (5) Outputs.Design/methodology/approachThe research method is based on qualitative and quantitative methods; a survey study is applied and the comparative results are evaluated with the path analysis method. The students in the Department of Architecture of two universities have been selected as the target audience. Case study 1 survey is applied to Altinbas University (AU) and Case study 2 survey is applied...

In this adorable special issue we elaborate on the idea of the Cute in Architecture; Bittertang Farm presents its treatise on the soft; Antonio Torres talks with us and tells us about his practice from an absolutely personal perspective; formerlyknotknown exhibits its projects; elii Office of Architecture presents its Mimosa; Sehwail + Zimmerman present a diffuse quasi-portal; and Garrido + Kohan announce their catalog of furry modern furniture.

Mimarlıktaki ‘dijital tasarım’ bağlamı da yeni kavramlarıyla tarihsel gelişimin tüm handikaplarından payını alırken, ona nasıl uyum sağlayacağımız popüler bir başlık haline geliyor. Özellikle yerel mimarlık ortamı, hem eğitim, hem de pratik alanlar, belirli bir tür entegrasyonun eşiğinde yer alıyor. Teknolojinin atını dörtnala geleceğe sürdüğü bir ortamda, teori ve uyum henüz bebek adımlarıyla ilerliyor. Yeni eğitim programları, her geçen gün sayıları artan uzmanlar, öncü birlikler olarak bizleri geleceğin topraklarına taşırken mimari tasarım paradigmalarının gözden geçirilmesi gerekiyor. Yeni çağ, yeni teknoloji, yeni malzemeler ve elbette nihayetinde yeni bir kuram üzerine konuşmak meşrulaşıyor.

Pedagogical Synergies : Integrating Digital into Design

"“Architects tend to draw what they can build, and build what they can draw.”1 - William J. Mitchell

The topic of how to introduce digital representation techniques and programs into the beginning design curriculum is an ongoing and evolving debate. Arguments can be made for compartmentalizing both analog and digital representation courses, thus freeing them from the constraints of the studio curriculum and affording greater freedom towards the exploration of the respective mediums. However, as the primary means of architectural exploration, these skills also benefit greatly from being contextualized within the design studio, such that the gradual mastery of technique while embedded within the design process leads to generative design thinking which utilizes drawings as architectural process and not mere representation.
Tracking over a time period of four years, this paper will examine one recurring studio project and the corresponding "Introduction to Digital Architecture" course situated in the second year of the design curriculum. The "Door Window Stair" project is a 7-week project occupying the first half of the semester which runs parallel with the introduction of digital representational techniques as a support course. Covering 2D drafting (Autocad), simple 3D modeling (Sketchup), image creation and manipulation (Photoshop, Illustrator), layouts (InDesign), abstract rendering (Brazil for Rhino), and all the associated interoperability between the above programs, this is essentially an intense crash course on all the primary digital concepts and techniques an architecture student is required to learn in order to succeed as a beginning designer. Delivered in a compact time frame of 8 weeks, the most feasible method for delivery is to actively seek out synergies with the studio design curriculum, constructing very precisely targeted assignments that align with studio explorations. Very specific workflows that correlate with desired studio outcomes are scripted and developed as the primary framework, while latent possibilities are pointed out but not always elaborated in depth. As both curriculums advance, observations can be made regarding the studio outcomes that point to tendencies students exhibit due to the specific digital techniques being taught in parallel.
As a "jack of all trades, master of none" survey course of digital techniques, the intent is to cultivate a comprehensive conceptual understanding of digital workflows that is embedded within the design thinking process, while providing students with the basic tools of the trade and adaptability to new tools in the future.

1 William J. Mitchell, 'Roll Over Euclid: How Frank Gehry Designs and Builds,' in J. Fiona Ragheb, ed., Frank Gehry, Architect, New York: The Solomon R. Guggenheim Foundation, 2001, Quoted from p. 354.

Considering advances in materials science, this research proposes a novel method of designing with multi-, or functionally graded materials (FGM). FGM consist of sub-materials continuously fused in one volume, without the use of mechanical connections. The proposed technique is to emulate the fusion of materials based on their physical properties using computational fluid dynamics (CFD) simulations. The main objective, in effect, is to formulate an epistemological framework corresponding to the use of CFD in multi-material design. Targeting this method for a unitised curtain wall panel segment, the research identifies appropriate materials that can be mixed to generate the part, describes the form of the digital container for blending, analyses FGM manufacturing techniques and structural loading on the panel to assign the affecting forces, and sets out criteria for terminating the simulation. This is followed by bespoke workflows to visualise the resulting FGM and to 3D-print it in a multi-material. The findings identify the shortfalls of material simulation use in design, the limitations of visualising a multi-material, and the problems with its direct fabrication. The resulting original contribution is a mutable process model created in commercial 3D software that can be used in a standard laptop computer to design with FGM.

Sceneggiature delle scelte concrete sintetizza la necessità di una scrittura pertinente alle modalità del pensiero progettuale, piuttosto che scritture letterarie, storico filologiche o giornalistiche con lo scopo di fornire dei "veri e propri dispositivi sintattici" per la comprensione e la trasmissione delle scelte strutturanti il progetto di architettura. Nati nel seminario di dottorato tenuto dal professor Antonino Saggio a "Sapienza," gli scritti di Matteo Baldissara, Giulia Cervini, Micaela Didomenicantonio, Massimiliano Modena, Giulia Perugi, Samuel Quagliotto, Elisa Romano, Alessandro Zilio e dei curatori Valerio Perna e Gabriele Stancato e dello stesso Saggio divulgano metodi e processi di Louis Kahn, Herzog & De Meuron, Steve Holl, Sverre Fehn, Mies van der Rohe e Makoto Sei Watanabe attraverso opere significative realizzate in un arco temporale di quasi novanta anni, dai primi anni Venti del Novecento fino ai più recenti esperimenti dell'Information technology in architettura.

In the last two decades, the development of digital technology has remarkably affected the nature of architectural design processes and created many opportunities and challenges in architecture. Today, architecte learn many computer skills which are not traditionally a part of their curriculum. Thus, many believe that the architect's needs will be resolved only by learning some technical skills such as computer modelling, scripting and etc. However, this is not always true. According to recent studies in the field of digital architecture, other factors such as computational design thinking logic can play important role in this issue. There exist many studies and programs on the application of different computer skills, however, there are only a few research on the role of computational thinking and logic in the architectural design procedure. This study attempts to present a different viewpoint of architectural design procedure by comparing the design procedure in architecture and computer science. Thus, the role of computers in architecture is studied in three levels including computer as an assistant, computer as an extension for the designer’s mind and computer as a designer. When we look at the computer only as an instrument, the designer can always have a full control over the computer, and when we see it a something which can develop ideas, it could enhance designer’s capabilities. But when it comes to design level as a real designer, the architecture will inevitably change. At this new level, the design process is not necessarily consistent with the design process in the human mind. Rather than solving problems, computers can create a new ideas and architecture.

Η πειραματική εγκατάσταση «anima_ta» που πραγματοποιήθηκε στη Θεσσαλονίκη, στο πλαίσιο της έκθεσης «ψηφιακές τοπο_γραφίες», με σκοπό να φιλοξενήσει τις αρχιτεκτονικές μελέτες, πρότεινε ένα διαφορετικό και πρωτότυπο τρόπο έκθεσης αλλά και κατασκευής. Η πολύπλοκη ψηφιακά γενόμενη εγκατάσταση σε συνδυασμό με το μεταβλητό φωτισμό και την ηλεκτρονική μουσική δημιουργούσε ένα μεταβλητό εκθεσιακό περιβάλλον πρωτόγνωρης εμπειρίας.